
Philadelphia 



JUST OUT 



The Cannibal and the Skeleton.— 

A shadow pantomime, by Hector Fezandie, for three males, 
one female. Time required, twenty minutes. The properties 
and scenery, while very effective, are easily prepared with 
pasteboard and scissors and the exercise of a little ingenuity. 

The pantomime is not at all difficult to produce and is 
sure to be exceedingly amusing. It is suitable for any 
occasion, and can be given either in Sunday-school, day- 
school, public hall, or private parlor. The directions and 
suggestions are unusually replete, thus insuring success for the 
entertainment, even in the hands of the inexperienced. 

The plot is as follows : Mumbo Jumbo, the King of the 
Cannibal Islands, a man with an inordinate appetite for mis- 
sionary meat, possesses a beautiful daughter named Tamataka. 
Cocobolo, the villain, loves Tamataka, but she spurns his 
suit. He discovers a shipwrecked sailor near the coast and 
pretends to have brought him on the scene by his magic, for 
Mumbo Jumbo's table, hoping thereby to ingratiate himself 
with the father. To the surprise of all, the captive, Edward 
Lansing Mortimer, proves a disappointment, because they find 
he is a living skeleton from a dime museum, and is hopelessly 
lank and tough. The King determines to wreak vengeance 
on Cocobolo, as well as on the freak, and orders them both 
fattened for his table. Mortimer, however, has learned the 
art of cooking, and he saves himself by concocting a delicious 
stew, without missionary meat, for which the grateful King, 
Mumbo Jumbo, grants him his daughter's hand as a reward. 
Cocobolo, in an unguarded moment, endeavors to take the 
life of Mortimer by thrusting a knife in him, but fails, and in 
the end virtue triumphs over villainy, as Cocobolo falls into 
the boiling cauldron and becomes a part of the stew. 

PRICE. 15 CENTS 

THE PENN PUBLISHING COMPANY 
1020 Arch Street Philadelphia, Pa, 




LEVIN C. TEES 
Dramadc Author 



TATTERS 

The Pet of Squatters^ Gulch 

An Original Border Drama in 
Three Acts 



BY 

LEVIN C. TEES 

Author of " Our Candidate," " Botany Bay," etc. 

Author's Edition, with the Cast of Characters, Synopsis 
OF Incidents, Time of Representation, Description of 
THE Costumes, Scene and Property Plots, Dia- 
grams OF Scenes, Sides of Entrance and 
Exit, Relative Position of the Per- 
formers, Explanation of the 
Stage Directions, and 

ALL OF THE StAGE 

Business. 



Copyright, 1893, by The Penn Publishing Company 



Philadelphia \^}^^ 151893^ 

The Penn Publishing Compafty^^^!)?^'" 

1893 '^y^ 



^ 






Copyright, 1893, by The Penn Publishing Company 



/Z-2>f^// 



^ 



TATTERS 

CAST OF CHARACTERS 

TiTiNiA TiMBERLAKE, nicknamed '* Tatters," the 

pet of Squatters' Gulch, . Soubrette Character Part. 

Major Timberlake, the proprietor of Squatters' 

Gulch Hotel, Comic Old Man. 

Robert Ferris, a half-breed Indian, . Leading Man, 

John Marston, a landowner from the East, 

Straight Old Man. 

Phil Dolan, "I c^„att-^rc J ^^^^^ Heavy Man, 

AbeWitherspoon, I squatters, | Second Heavy Man. 

Moses Lillyblossom, a servant at Squatters' Gulch, 

Low Comedy. 

Jacob Kent, a land speculator, . . Utility Man. 

Sheriff Gorgas, Same. 

Mrs. Timothy Timberlake, . Ecce?ttric Old Woman. 

Clementina Fairlace, a young lady from Boston, 

Ingenue. 

Time of representation, two hours. Time, the present. 
Locality — Nevada. 



SYNOPSIS OF INCIDENTS 

Act I, Scene, Squatters' Gulch Hotel garden. The land 
speculator. Tatters, Mose, and the Squatters. Arrival 
of Major Timberlake and his new wife from Boston. 
Tatters, assisted by the mischievous negro, plays tricks on 
her new mother-in-law. John Marston claims his land 
and warns the Squatters they must vacate. The plot to kill 
Marston. Ferris, the half-breed Indian, refuses to join it 
and incurs the enmity of the Squatters. Meeting of 
father and son. *' What would you have done had you 
been that son ?" " I would have killed him !" The fall 
over the precipice. " You have killed him !" Attempt to 
lynch Ferris. Tatters to the rescue. " Quick, into the 
house." *' Give him up — he is ours !" " Come and take 
him then !" The lynchers at bay. Tableau. Curtain. 

Act II, Scene, A room in the hotel. Ferris in hiding 
from the Vigilantes. Tatters and her lover. " You can 
depend on one thing, Robert Ferris, if one litde girl can 
help you to escape it's going to be done." Mose has 
alarming intelligence. " Mose, take Mr. Ferris into your 
room and conceal him. Leave me to put the blood- 
hounds on the wrong scent. Now come, Phil Dolan, 
when you will !" Phil's offer of matrimony. Phil — " I'll 
make you my wife. Tatters, and every dollar I'm worth 
shall be yourn." Tatters, " Keep your money, Phil Dolan, 
you'll need it to bury you." Phil's threat. Arrival of the 
sheriff and posse. " Phil, I'll not be made a fool of. 
Ferris is in that room." Tatters, " Stop, I say ! Advance 
another step toward that door and I'll blow you all into 
eternity !" The powder horn. The escape of Ferris dis- 
guised as Mose. The posse drag out Mose disguised in 
Ferris's clothing. Tatters, " Baffled again, you fools ! the 
cage is open, the bird has flown. Robert Ferris has 
escaped." Tableau. Curtain. 

Act III, Scene i. — Squatters' Gulch Hotel garden. Mose 
and Tatters -compare love notes. Mose's infatuation for 
Miss Clementina. Mose's courtship and the rebuff. Mose 
refuses to be discharged. The Jew peddler who proves 
to be Robert Ferris in disguise. The Vigilantes coming. 
Flight of Tatters and Ferris. The Vigilantes catch Mose 
and duck him in the horse trough. 
4 



TATTERS 5 

Scene 2. — A path in the mountains. Tatters and Ferris 
on their road to San Francisco. Phil Dolan and the 
Vigilantes in pursuit. Major Timberlake asserts his 
rights as the head of the family. Mose armed for battle. 

Scene 3. — A hunter's deserted lodge in the wilderness. The 
fugitives. Unexpected appearance of Marston, who was 
supposed to have been murdered. The abduction of 
Tatters. Ferris trapped. " I do not fear the law when 
justly administered, but you have no rights either as 
judges or executioners." Phil — " We have no time for 
fine speeches. Up with him ! Give him hemp !" The 
sheriff to the scene, but the Vigilantes outnumber the 
officers of the law. The Major's inquiry of the half-breed : 
" What have you done with Tatters ?" Phil — " Killed her, 
I suppose. Now he has got his hand in he won't stop at 
one murder !" Tatters appears, " You lie ! Phil Dolan ! 
Robert Ferris is innocent, and there is the proof of it !" 
Father and son reconciled. Phil Dolan gets his deserts. 
" All honor to Tatters, the Pet of Squatters' Gulch." 
Tableau. Curtain. 



COSTUMES 



Tatters. Age, eighteen. Act I. — First dress, a frowsy 
light colored wig, tattered calico dress, the skirt in ribbons, 
black hose, old worn shoes down at heel. Second dress, 
A la Fanchon. Third dress, same as first. Acts II and III, 
neater attire, hair in order, also general improvement in 
shoes, etc. 

Major Timberlake. Age, fifty-five. Semi-military uni- 
form, dark blue suit, white hat, old man's stand-up collar, 
flaring red necktie, high boots, iron gray wig, partly bald. 

Robert Ferris. Age, twenty-five. Acts I and II. — 
Hunter's costume, sombrano hat, leather leggins, etc., dark 
wig of straight, long hair, that reaches over his shoulders. 
Act III. — First dress. A Jew peddler's disguise, dark bushy 
beard and whiskers. Second dress, same as in Acts I 
and II. 

John Marston. Age, sixty. Act I. — A rich and very 
genteel suit. Silk hat, light overcoat, gray wig, whiskers, 
and mustache ; aristocratic looking. Act III. — A torn, 
tattered suit, to bear a resemblance to the clothes worn in 
Act I. Face made up wild and emaciated ; hair and beard 
dishevelled ; limbs bloody and torn from scratches, etc. 

Phil Dolan. Age, thirty. Dark wig and beard, both 



TATTERS 

shaggy looking. His attire and that of Abe somewhat 

resembles that of Ferris. 

Abe. Age, thirty. Light wig and beard. 

Moses Lillyblossom. Age, twenty-five. Negro wig, 
smooth face, white pants, red shirt, old straw hat, slippers. 

Jacob Kent. Age, forty. Light business suit. 

Sheriff. Rough Western dress, high boots, dark wig 
and whiskers. 

Mrs. Timothy Timberlake. Age, fifty. First dress, 
plain shawl, eccentric bonnet. .Second dress, plain attire 
without shawl or bonnet. 

Clementina Fairlace. Age, twenty. Act L — Fashion- 
able traveling suit. Act IIL — House dress. 



PROPERTY PLOT 

Act I 

Tray with bottle containing colored lemonade and half- 
dozen glasses for Tatters. Large tin horn ready outside, 
L. u. E. Clothes-prop or broom to scrape on floor of 
stage outside, r. u. e., to make noise of coach wheels. 
Club ready for Major to chase Mose. Caba for Mrs. Tim- 
berlake. Tracts for Mrs. Timberlake. Circus bill for Mose. 
Cigar for Marston. Pistols for Tatters, Major, Mose, and 
Sheriff. 

Act II 

Gun for Tatters. Six larger guns for Sheriff, Abe, and 
four men. Demijohn for Ferris. Powder-horn for Tatters. 

Act III. 

A peddler's pack for Ferris. Broom for Tatters. Guns 
for Phil, Abe, and four men. Tracts for Mrs. Timberlake. 
Gun for Mose. Gun for Ferris. Drinking-flask for Tatters. 
A stuffed coon or opossum for Ferris. Rope for Abe. 
Guns for Sheriff and three men. 



SCENE PLOT 
Act I 



ACT 1 

Scene. — Landscape, representing mountains in 5 G. 
Paling fence crossing from r. 3 e. to l. 3 e. with practical 



TATTERS 7 

gate c. In 4 G. is a set piece representing verge of preci- 
pice with set rocks r. and l. of it. It is three feet high, 
with an inclined approach, two feet high. Marston falls 
over this and is caught on a mattress placed in u. e. behind 
precipice. Set house l. 2 e. with porch, practical door and 
steps, and sign, " Squatters' Gulch Hotel " over door. 
Table and several chairs down R. c. Rustic bench up l. 
Pump and horse trough up r. Green baize. Lights up. 
Time, morning. 



5'" G. 



AV G. 



39 G. 



2»GT 



MOUKTAIH AND RIVER SCENE PA1« 


TED ON FLAT . 

ran 
MARSTON & 
FALL. 


- STS'G. 




nATTRCSS 




SET ROCKS J 


ET PIECE REPRES 

VERGE OF PREC» 

3 FT. HI&M 


ENTlNfc SET R0CK5 
'tCE 


-4-6.^ 


PALING FENCE 

=(V 1 

PUMP 6 HORSE TR 


-» GATE r- 

f^ /- u&ia 


PALING FENCE 

RUSTIC \\v 
BENCH \^ 






1 


ii•^" G. 
I SET House. 



CHAIK O^ -*OcHK.a 




r*^ G. 



DIAGRAM OF ACT I 



Act II 



Scene. — Plain chamber in 3 g. backed with landscape in 
4 G. seen through large window in c. flat in 3 G. closed in 
ceiling. Plain table c. with chairs r. and l. Set fireplace 
L. 2 E. Door r. 2 E. Door supposed to lead to Mose's 
room R. u. E. Door L. i E. Plain carpet. Lights up. 
Time, afternoon. 



TATTERS 



LANDSCAPE SCENt 



3? O. 



L WIDt 

DOOR TO WINDOW 

MOSES ROOr^. 



3? &. 



/. 



rcaaiNET 
O CHAIR 



( TABLE ) 



O CHAIR 



DIAGRAM OF ACT II 




i»: «•. 



Act III 

Scene i. — Same as Act I. 

Scene 2. — A mountain pass i g. 

Scene 3. — A log hut in 3 g. backed by woods in 4 g. Set 
fireplace, rustic, in 3 e., with few burned sticks of wood in it. 
A rough stool and rustic table in c. Doorway in r. f. with 
rude door off hinges. Open window in l. f. Bare floor. 
Lights up. Time, afternoon. 



4'J? G. 



FORtST 5QZHL-, 



G. 



3?.G. 



2?&. 



2?G. 




t 



1*-^ Ci. 



DIAGRAM OF SCENE 3, ACT III 



TATTERS 

EXPLANATION OF THE STAGE DIRECTIONS 

The Actor is supposed to face the Audience 



D. R. C. C. D. D. L. C. 
L. U. E. SCENE L. U. E. 



/ 



\ 



R. 3E. 



L. 3E. 



/ 



\ 



/ 



L. 2B. 



\ 



R. I E. 



/ 



\ 



R. C. C. L. C. L. 

AUDIENCE 



L. 


Left. 


c. 


Centre. 


L. C. 


Left Centre. 


R. 


Right. 


L. I E. 


Left First Entrance. 


R. I E. 


Right First Entrance. 


L. 2 E. 


Left Second Entrance. 


R. 2 E. 


Right Second En- 


L. 3E. 


Left Third Entrance. 




trance. 


L. U. E. 


Left Upper Entrance. 


R. 3E. 


Right Third Entrance. 


(Wherever this Scene may be.) 


R. U. E. 


Right Upper Entrance. 


D. L. C 


Door Left Centre. 


D. R. C. 


Door Right Centre. 




I, 2, 3, or 4 G., first seconc 


, third, or 


fourth grooves. 



TATTERS 

THE PET OF squatters' GULCH 



Act I 

SCENE— Garden. Squatters' Gulch Hotel Set house, L. 
2 E with porch, practical door and steps, and sign, 
- Squatters' Gulch Hotel;' over door. Paling fence from 
R ^ E /^ L. 3 E., with practical gate c. Drop in 5 G., re- 
presents wild mountain la?idscape. Set rocks R. and l. m 
A G with set piece represe7iting verge of precipice in c. 
Table and chairs down r. c. Pump and horse trough up 
R , near fence. At rising of curtain Phil, Abe Kent 
and several squatters discovered at table R. c. laughing and 
very noisy. 
Phil, (c.) So then it is a bargain. You're willing to give 

ten dollars an acre for the land ? 

Kent, (r.) Yes, if that is the best you can do. 

Phil. It is the best I can do. 

Abe, (l.) I won't take a gol darn cent less 

Kent All right, then. We will call it a bargain. Meet 

me and my lawyers at Squatters' Gulch here to-morrow at 

ten, and I'll have the money ready. 

Phil. Good enough ; we'll be punctual. 

Kent. Now, boys, will you join me m a glass ? We II 

drink to the transaction. 

All. Bravo ! {All come down) 

Kent, (calls aside) Ho, there, Bartender ! ^ 

Phil Old Timberlake's went East to get married, so 

you'll have to depend on the tender mercies of Tatters and 

the nigger 1 Tatters ! Tatters ! I say 

Tatters, (inside, l. 2 e.) Ah! what's the matter with 

you ? Give us a rest. j /-r 

Phil. Come out here. Tatters, you're wanted. (Iatters 

appears at door, l. 2 e., looking slovenly, etc) 

Tatters. Wanted, of course I'm wanted. You cant 
get along without me nohow. 

Phil. If Robert Ferris had called you'd have come 
sooner. 



12 TATTERS 

Tatters. Robert Ferris knows better than to holler at 
a lady like you do. 

All. Lady ! Oh ! oh ! {Laugh}) 

Kent. So you're Tatters ; well, that's a queer name. 

Tatters. Oh ! you don't say so. Well, I wasn't 
christened to suit you ! {All laugh) 

Kent. Never mind. Tatters, we won't quarrel. As 
you're the bartender, let us have drinks all around. 

Tatters. What does everybody want ? Whiskey 
straight, I suppose. They drink nothing else here. 

Abe. Good for Tatters ! She knows us, don't she, boys ? 

Tatters. Guess I ought to. I was raised here. {As 
she is gomg off) 

Kent. Tatters, what will you take ? 

Tatters. I'll take my leave. I had you there, old 
smarty ! {Exit Tatters in to hotise, l. 2 e.) 

Phil, {aside to Abe) Abe, we're in luck. When old 
Marston went away this land wasn't worth a continental. 
' Abe. {aside to Phil) It was very good-natured in him to 
go away and die, wasn't it ? 

Phil. Are you sure he is dead ? 

Abe. I should murmur. He aint been heard of for 
twenty years. {Enter Tatters carryifig drinks. She 
hands them around) 

Kent, {at table, r. c.) Come, gentlemen, drink ! I must 
be going. Here is luck. Good-bye, gents, I'll see you to- 
morrow. {Exit Kent through gate c. and off k) 

Phil. He's a good fellow. 

Abe. {half intoxicated) Here's success to him. Gentle- 
men, I am sorry to say I am going to leave you with my 
wife and kids. Me and my pal here have sold out our land, 
and I guess I'll get up and get! 

Tatters. Hurrah ! Tiger ! 

Abe. But Phil aint going with me. 

Tatters. Three groans ! 

Abe. Phil has attractions here ! Eh ! Tatters. 

Phil, (l.) You bet ! 

Tatters, (r.) Attractions. There aint much attraction 
'bout him, the old red-faced, brandy-nosed, blue bottle ; 
why, boys, he daren't go near a lighted candle for fear he'd 
catch fire and bust ! {All laugh) 

MosE. {enter from house, L. 2 e.) Who is dat goin' to bust 
up ? Yah ! yah ! It's Tatters playing tricks on some of de 
boys, I 'spect. 

Phil. Get out, you nigger. Don't make yourself so 
familiar. 



TATTERS 13 

Tatters. Here you, Phil Dolan, just hold your hosses. 
Mr. Lillyblossom is my special friend, and the man who says 
anything to him has to knock the chip oft' of my shoulder. 

Abe. Lillyblossom ! Ha ! ha ! ha ! what a name ! 

MosE. It is a nice name — Moses Lillyblossom, Esq., 
chief waiter at Squatters' Gulch. 

Abe. Chief waiter, ha ! ha ! ha ! Why you're the man-of- 
all-work. 

Tatters. Cooks the meals, cleans the dishes, chops the 
wood, and tends the hosses. Bully for Mose, I say. There 
are no lazy bones in his body even if he is up to mischief! 
Oh ! only wait till that step-mother of mine comes. Won't 
we have fun. 

MosE. We'll lay for her ; preparations already in prog- 
ress. Dar is a pin in de seat of ebery chair in de house. 

Phil. (l. c.) When is your step-mother coming. Tatters? 

Tatters. Expect her every minute. Father went on 
to Boston to marry her, you know, and he is on the road 
here with the old woman and her daughter, some putty- 
faced city gal. He wrote they'd be here to-day, and 
shouldn't wonder if they'd come in the next coach. {Coach 
horn toots off l. u. e. ; all come dowji) 

Abe. Well here comes the vehicle ! Did you hear the 
old horn toot ! {Looks off l.) 

Tatters, {crosses to l.) And me in these rags. I must 
put on my best to receive the old gal. 

Mose. Golly, won't we make it warm for her? 

Tatters. You bet we will ! Get out of the road there 
{^psets two rnefi), clear the track {at door). Say, boys, wait 
till you see me with my good clothes on. {Rims into house) 

Abe. Ha ! ha ! ha ! The step-mother that gets the best 
of that girl must get up with the chickens, eh, boys ? 

Phil. Hush, here she comes ! {All cheer. Enter Major, 
Mrs. Timberlake, and Clementina, l. u. e., through 
gate c.) Welcome, old man, welcome home again. Boys, 
three cheer for the Major. {All cheer) 

Major, (c.) Thank you, boys ! Those shouts remind 
me that I'm back again in the old diggings. {Cheers) Al- 
low me to introduce my new wife, Mrs. Major Timberlake, 
late Mrs. Ephraim Fairlace, of Boston. 

Mose. (r.) By gum ! She comes from Boston. 

Major. Silence, you nigger ! 

Mrs. Tim. I should say so ! How dare that vulgar col- 
ored man speak so in my presence. 

Mose. (r.) Mustn't mind me, mum. Ise one of de family. 
Who is dat oder gal ? 



14 TATTERS 

Major. Why you infernal black scoundrel. How dare 
you interfere in my family affairs ? 

MosE, Aint I a man and a brudder ? 

Major. You'll be an Egyptian mummy in about two 
minutes. Where is that club .-* (Looks about him, seizes 
club, chases Mose in house, l. 2 e.) The infernal nigger 1 
He'll be the death of me yet. He makes himself entirely 
too fresh. {Sees Clem.) Oh ! I forgot you. This is Miss 
Clementina Fairlace, my wife's daughter. 

Abe. Bully for your wife's daughter. Boys, give her a 
tiger. {All cheer.) 

Clem. Oh ! how sweetly romantic. What picturesque 
creatures. Miners, I suppose they are. I'll surely get a 
husband here. 

Abe. You bet your boots you will. Now if I wasn't 
married — (Abe takes Clem's arm and they go tip stage 
laughing and chatting.) 

Major. Mose ! Mose ! Where is that nigger ? {Enter 
Moses, l. 2 e.) 

Mose. Here I is ! Old slap-jack, what is the matter now ? 

Major. Moses, you must stop addressing me in such a 
familiar manner. You and Tatters use me as if I was of no 
more account than a paste pot. 

Mose. Hal ha! ha! Or an old spittoon. 

Major. Silence, you nigger. Has a stranger arrived 
yet? 

Mose. What sort of a stranger? 

Major. Never mind ! has anybody been here — a well- 
dressed man, with a light overcoat and a gray beard — a fine 
old gentleman — looks something like me ? 

Mose. Looks like you, eh ? Had he a red nose ? 

Major. No, sir ! {In a voice of thunder.) 

Mose. {grinning) Well, he wasn't here. 

Major. Then he'll soon be along. He made the last 
stage on horseback, and I thought he would have arrived 
before us. I'll be on the lookout for him. {Exit Major, l. 
2 E.) 

Mrs. Tim. Into what a land have I fallen ? Is this the 
temple of religion and morality to which the Major promised 
to bring me ? As I live, it is a tavern, and there is my hus- 
band's name on the shingle. Gracious goodness ! He told 
me he was a temperance lecturer, and here I find him run- 
ning a gin-mill. {Looks around.) Why, these men are little 
better than heathens, and there is that nigger. Well, I 
mustn't forget my work. {Looks into her caba.) Colored 
man, come here, please. 



TATTERS 15 

MosE. I wonder if she means me. Is it me you want, 
ma'am ? 

Mrs. Tim. Yes, colored man, what church do you 
attend ? 

MosE. Church ! I aint eber seed de outside of one for 
de last fifteen years. Don't believe there's one within fifty 
miles. If you want a faro bank we'se got one up in the 
second story. 

Mrs. Tim. What a horrid, wicked place this must be. 
{Feels in cab a^ I will give you something ! How fortunate 
I brought those tracts ! Clementina, what did I do with 
those tracts ? 

Clem. You have them in your pocket, ma'am. 

Mrs. Tim. Oh ! to be sure ! Here, you sinful creature, 
here is something that will do you good. (Mrs. T. finds 
tracts and hands theyn around to men. Tatters suddenly 
appears at door dressed a la Fanchon, l. 2 E.) 

Tatters. Just looks like a camp-meeting. I wonder 
which is my mamma ? 

Mrs. Tim. Good gracious, what is that ? 

Tatters. It's me, that's what it is. 

Phil. This is Tatters, Major Timberlake's daughter. 

Mrs. Tim. My step-daughter. My conscience, child, 
what are you doing in that outlandish garb ? 

Tatters. Outlandish ! Them's my mother's Sunday- 
go-to-meetin' clothes, and they're a darn sight prettier than 
your'n. Bet you five dollars you never had a dress like 
this in all your life. 

Clem, {comes down) Well, I should hope not. You look 
like a second-hand clothes store. {Goes up stage.) 

Tatters. That wasn't your put, dough-face. When I 
want your opinion I'll ask for it. 

Mrs. Tim. You wicked girl. How dare you talk so to a 
young lady who is ten times your better, both in birth, 
education, and everything else. Ah! I see how it is! 
Your moral and religious nature sadly needs reformation ; 
read this and you'll see what a wicked little sinner you 
are. 

Tatters. When is it coming to town ? 

Mrs. Tim. When is what coming to town ? 

Tatters. The circus ! 

Mrs. Tim. Circus ! Who said anything about circus ? 

Tatters. Aint this a circus bill ? 

Mrs. Tim. Oh ! the litde heathen ! Here is a child 
eighteen years old, never learned to read and don't know a 
tract from a circus bill. I have a great work before me. 



l6 TATTERS 

I'll have to neglect my domestic affairs and turn missionary, 
{During above speech Tatters has crept to Mose and taken 
circus bill from him, goes to Mrs. T. and slyly pins it to her.) 

Tatters. Boys ! didn't I tell you the circus was coming ? 
{The rest laugh ayid Mrs. T. looks around inquiringly.) 

Mrs. Tim. What do you mean, you silly thing? 

Clem. Mamma, she has pinned a circus bill to your 
skirts. 

Tatters. Houp la ! Go along there ! Houp la ! lioup 
la ! {Runs about.) 

Mrs. Tim. {chasijig Tatters about stage) You nasty, im- 
pudent, good-for-nothing thing. I'll box your ears. Only 
let me catch you ! (Tatters runs off l. u. e. Mrs. T. in 
pursuit when she runs plump i?ito Marston, who is just en- 
tering, L. u. E. Major enters l. 2 e.) 

Major. Hello ! Thunder and Mars, what is the matter 
here ? 

Mrs. Tim. {to Marston) Excuse me! {To Major) It is 
that nasty, impudent, good-for-nothing daughter of yours. 
She has been pinning a circus bill to my back ! A circus 
bill ! A thing I abominate ! 

Major. Ha ! ha ! ha ! That's another of Tatters pranks. 
Great girl, that — my Titinia ! 

Mrs. Tim. Great ginger ! What a name ! 

Major. Shakespeare, ma'am ! A fellow that used to 
board with us stole it out of one of Bill's plays, but it was 
rather too tough for the boys so they call her Tatters ! 

Mrs. Tim. {aside) And Tatters she is. Never mind, it 
will be my duty as a faithful Christian to reform that young 
pagan ! But, oh ! what a task ! 

Major. But come, my dear, allow me to introduce you 
to Mr. Marston, the gentleman, you'll remember, who ac- 
companied us part of the way on our journey. 

Phil, {aside to Abe) Marston ! That's the name of the 
owner of the land. 49 

Abe. {aside to Phil) It can't be he ! He died in the East 
long ago ! 

Phil. If it should be the same, then it's good-bye to our 
hopes ! 

Major. Boys, I'll introduce you to Mr. John Marston, a 
gentleman from Boston, whose visit here very particularly 
concerns some of you. So you had better secure his good- 
will from the start ! 

Marston. (r.) Gentlemen, as Major Timberlake has 
hinted so darkly at the object of my visit, I may go a step 
further and explain fully. Twenty years ago when this 



TATTERS 17 

place was a howling wilderness, and not a single sign 
of civilization could be seen, I visited it and for a song 
bought up thousands of acres, trusting to the future to turn 
it into a lucky speculation. 1 now return to find my hopes 
realized, and I shall put in my lawful claims to secure my 
own. Many of you have settled down on my lands and 
tilled farms and built houses. To all such I wish to be 
lenient, selling them the ground at a reasonable figure or 
renting to them as they choose. But one thing is to be 
understood, I have come to take possession of my own, 
and so in a friendly way I give you all fair notice. 

Major. Come, boys ! Marston means well and don't 
wish to harm a hair of any of you. 

Marston. Those are my sentiments well expressed. 
Come, let us go in and have refreshments. Madam, may I 
have the pleasure ? {Extends his arm to Mrs. Tim. Major 
interferes and takes her arm) 

Major, {to Marston) You'll excuse me. {To Mrs. Tim.) 
Come, birdie. 

Mrs. Tim. {aside, proudly) He called me birdie ! (Mose 
mimics Mrs. Tim. She crushes him with a look and exits with 
Major. Marston ^ir^'r/j- Clementina. All exit into house 
but Phil and Abe.) 

Abe. Phil, our game is up. This man Marston has both 
law and money on his side and we've got to vamoose. 

Phil. Hadn't he some sort of a story ? 

Abe. Yes, they say he was married to an Injin squaw 
but ran away and deserted her and her little boy — their 
only child. 

Phil. What became of them ? 

Abe. Nobody knows. They left the Gulch, and perhaps 
followed their tribe to the reservation. 

Phil. Oh ! I have been a fool, a blasted fool waiting 
here for a rise in land when I should have sold out long 
ago. 

Abe. Yes, but the Gulch has had another attraction for 
you, Dolan. 

Phil. You mean Tatters. Yes, I can't keep my mind 
off the jade, though the girl laughs at me. But PU marry 
her yet if she don't run off with that Injin Robert Ferris. 

Abe. Who, the half-breed who lives back behind the 
woods here with his old mother ? 

Phil. Yes ; Fm going down to see him — to put him up 
to mischief. 

Abe. What do you mean ? 

Phil. Listen. I hate this Ferris. First, because he's 



l8 TATTERS 

one of those namby-pamby, honest fellows, and then he's 
come between me and the woman I love. {Looks off) Hush, 
some one is coming. By gol, it's the very man I'm talking 
about. (^«/^r Ferris, r. i e., looking dejected) Hello, Fer- 
ris, I was just coming down to see you. 

Ferris. Then it would be your first visit, Phil. 

Phil. That's a nice place of yours, Ferris, and you've 
honestly earned the land toiling and drudging, but now it 
is all to be taken away from you by this man Marston the 
speculator. We all thought he was dead, but he has turned 
up again this very day. 

Ferris. Well ? 

Phil. You understand. If he remains the land will be 
taken from all of us, but if he should suddenly disappear — 

Ferris. I understand. You would select me as the tool 
for your bloody crime, but you make a great mistake. PU 
take no man's life to save for myself or others this land to 
which we have no just claim. 

Phil. Bah, don't preach. 

Ferris. Very well, I will not. But Pll have no hand in 
the work. 

Phil. You'll think better of the matter, my lad. Turn 
over in your mind what Pve said and remember on which 
side your bread is buttered. Good-night, we'll see you 
again. {Exit Phil and Abe, r. i e.) 

Ferris. Why should they select me as the tool for their 
bloody work? Haven't they already embittered my life 
with their hatred, scorn, and neglect, both of me and my 
mother — mother — alas ! I have no mother. The cursed 
blight and desolation that has fallen on my life never in- 
flicted a more bitter pang than when it robbed me of her. 
{Sits at table r. c. Enter Tatters, l. u. e.) * 

Tatters. Well, the war has begun, and first blood for 
Tatters. Oh! Pll make that old woman sorry she ever 
come to these diggins ! Thinks she is going to make a 
Sunday-school teacher out of me, but I aint that kind of a 
hair-pin ! Hello ! what's that ? Why I do believe it's 
Robert Ferris. I aint seen him for three whole days. I 
wonder what's the matter with him. Looks as if he had a 
pain. Cramps I guess ! {Goes to Ferris and yells in his 
ear) Fire ! Fire ! 

Ferris, {startled at first) Ah ! Tatters, is that you ? 

Tatters. Why. Mr. Robert Ferris, what ails you ? You 
look as if you had been crying. Has anybody been mak- 
ing you feel bad ? If they have you tell me. I'm little, but 
I'm tough, and don't you forget it. 



TATTERS 19 

Ferris. Why, what a httle spitfire you are. Thank you, 
Tatters, for the interest you take in my welfare. I don't need 
a champion just at present, but when I do, I'll call on you. 

Tatters. And I'll be there every time. Say, Mr. Ferris, 
promise me you won't get mad. My father came all the 
way from 'Frisco to-day, and he brought me a whole lot of 
peaches. If you wouldn't mind carrying them, Mr. Ferris, 
I'd like to send some of the nicest ones to your poor sick 
mother. 'Deed I would. 

Ferris {overcome by emotioji) Alas ! my child, I have no 
mother now. 

Tatters. O Mr. Ferris ! I'm awfully sorry ! I didn't 
intend to make you feel bad. Do forgive me ! But what 
do you mean ? 

Ferris. There is nothing to forgive, my child. I thank 
you for your kind thought of my poor mother. You were 
her favorite, Tatters, though of late you haven't been to see 
her much. 

Tatters. I know, Mr. Ferris, but it wasn't my fault. 
Father forbid me going to your cottage, because — be- 
cause — 

Ferris. Yes ! yes ! I know ! I know ! 

Tatters. Won't you tell me all about it — your mother, 
I mean. 

Ferris. Titinia, you know ever since I was a little boy, 
I had to toil at the mill to support my poor bed-ridden 
mother. I used to roll her little cot-bed out on the porch under 
the shadow of the big maple trees that stood by the door — 
so that she could amuse herself listening to the whisper of 
the leaves and the sweet song of the birds (they were her 
only companions from morn till night except our faithful 
dog). Three days ago I left my work without a thought or 
fear of the dreadful blow that was so soon to overtake me. 
I bore good news with me, too — my employer had that day 
promised to advance me. As I walked gaylyup the path- 
way — calling to let my mother know of my approach — a 
strange and solemn stillness was all the answer, broken as 
I neared the gate by the wild wailing of the faithful dog. A 
sudden terror seized me, my limbs almost refused to obey 
my will. The few steps intervening between me and the 
porch seemed endless. At last I stood face to face with the 
bitter truth. I was alone. There on the cot lay my 
mother peacefully smiling in the embrace of death ! 

Tatters. Oh ! how dreadful. Now you've got nobody, 
not even a mother. I wish I was your mother — {pause) or 
your sister — or some relation anyhow. 



20 TATTERS 

Ferris. Yes, little friend, I wish you were my sister, or 
could be i^piitlbig ann around her waist), and why not, you 
can be — be my little sister and I will be a good faithful brother 
to you too, Tatters, and if in time to come you should need 
a brother's friendship, or a brother's care, while I live, you 
will find it in Robert Ferris. 

Tatters. You're awful good, Mr. Ferris, but suppose 
you was to get married, Mr. Ferris, your wife might get 
jealous, she mightn't like me. Do you think she would, 
Mr. Ferris ? 

Ferris. I don't see how she could help liking you, 
Tatters, if she knew you as well as I do. 

Tatters. Well, I don't want her to like me ! I shall hate 
her, I know I shall, and if she ever dares to speak to me, 
I'll scratch her eyes out. {^Bursts out crying?) Now you've 
made me cry and I hate you too, so I do. {Exit Tatters, 

L. 2 E.) 

Ferris. What a strange mixture that girl is! {Enter 
Major ^;^^MARSTON, latter has cigar, from l. 2 E.) 

Major. There is not much prospect of a change in the 
weather. {Sees Ferris.) Ah, Ferris, you there. 

Marston. Ferris ! {To Marston) Is this the gentleman 
you were speaking to me about. 

Major. Yes, I'll introduce you. Mr. Marston, this is Mr. 
Ferris. Won't you come inside ? 

Marston. No, I'll stay out here and finish my cigar in 
company with Mr. Ferris, if he'll permit me. {Exit Major, 
L. 2 e.) 

Marston. Mr. Ferris, I am glad to meet you. I under- 
stand that among all these settlers you are the only one 
who would stand up for right and justice, in that you would 
not contest my lawful claim. What can I do to reward 
you? 

Ferris. I need no reward, sir, for doing my duty, and 
now let me bid you good-night. 

Marston. Stay ! I have taken a strange interest in you 
and would know something of your history. Do your 
parents live ? 

Ferris. My mother lies buried in yonder hill, sir. My 
father I never knew. 

Marston. I would judge from your face that there is 
Indian blood in your veins. 

Ferris. Aye, sir. My mother was an Indian — my father 
a rich white man. He came here, w'ooed and won her, then 
heartlessly deserted her and her child and left them (for all 
he cared) to starve and die in the wilderness. 



TATTERS 21 

Marston. And her name — to what tribe did she be- 
long ? 

Ferris. Her name — Marie; her tribe — the Royal 
Miamis. 

Marston. {aside) Marie \ The Royal Miamis ! It is my 
son! my son! {Aloud) \—l — I am deeply interested. Tell 
me more. 

Ferris. There is little else to tell. Her story is a sad 
one. She left the Miamis and stole away here to the deep 
wilderness to hide her sorrow and shame. Here she built 
her little cabin, and, hiding away from the world, taught me 
all the missionaries had taught her. She had been dis- 
graced, and her heart was broken. There she lived and 
died alone — alone, as I am now. 

Marston. {aside) What have I done ? I must make 
reparation. {Aloud.) Robert Ferris, listen to me. I once 
knew a man, proud, ambitious, fond of the world, who 
secredy married a brave, true woman of the wilderness, 
then heartlessly deserted her as your father has done. 
Years passed. His friends and relatives all died. He was 
left alone — old and desolate. One day by accident he dis- 
covered he had a son — sole issue of his baseness and 
treachery. His heart went out to that son for pity and sym- 
pathy. He opened his arms — offered his all — all that he 
had to give. What would you do ? What would you have 
done had you been that son ? 

Ferris. What would I have done had I been that son? 
I should have remembered my mother's simple trust in the 
man who deceived her with all the arts and advantages of 
civilized life. 1 should have remembered the long and 
weary winters of that abandoned mother and child, left 
there to starve and suffer while my father roamed the world 
revelling in luxury and pleasure. Yes, I should have re- 
membered all this when he, weary of the world he loved so 
well, came to me crying for sympathy and tenderness. I 
should have recalled his wrongs to me and mine! I 
would have killed him ! 

Marston. Great Heaven! 

Ferris. Do you hear ! I would have killed him ! 

Marston. {throws up arms — cries) Help ! Help ! {Falls 
back over precipice. Eiiter Abe and VviYLfrom tavern.) 

Phil and Abe. You have killed him ! 

Ferris. By Heaven! it is false ! {Enter all fr^om house, 
L. 2 e.) 

Phil. But I say it is true ! I caught him in the act of 
pushing the old man off the cliff. 



22 TATTERS 

Ferris. I tell you it was an accident. I never laid 
hands on the man. 

Sheriff, {stepping forward) A judge and jury will de- 
cide that. Robert Ferris, you are my prisoner ! 

Phil. I say no ! We have had enough of mock trials 
and easy justice. We won't burden the county with the 
expense of this job, but do it ourselves ! 

Abe. Aye, Judge Lynch will hang him cheaper and 
quicker than the law can do it. 

Men. That's so ! Hang him ! hang him ! 

Mrs. Tim. There'll be blood shed, Major! Major! 
{Screams and I'-ufis into house, followed by Clem., who, with 
her 7nother, has been looking on from the porch.) 

Sheriff. Gentlemen, stand back I As sheriff of this 
county I claim this prisoner, and am going to take him and 
lock him up at all hazards. 

Major, {enter from house l. 2 e.) Good for the Sheriff! 
I for one stand up for law and order, and the man that tries 
lynching in these diggings must do so over the dead body 
of Major Timothy Timberlake, of Nevada ! 

Phil. Nonsense ! Make a rush, boys ! Take him from 
them ! 

Men. Take him ! seize him! Down with the Sheriff! 

Ferris. This is a conspiracy, but I will never be taken 
alive. {Breaks from Sheriff, rushes into house. Tatters 
appears at door armed, hustles Ferris z«.) 

Tatters. Quick into the house! {She quickly closes 
door and stands with back against it, she is joined by Major, 
Mose, and Sheriff all with drawn pistols.) 

Men. Give him up ! he is ours ! 

Tatters. Come and take him, then ! (Tatters stands 
in a menacing attitude on porch beside Mose, Major, and 
Sheriff, crowd at bay) 

Tatters, Major, 
Men, Abe, Phil., Mose, Sheriff, 

R. R. C. C. R. 2 E. 

ON PORCH. 
QUICK DROP, 



Act II 

SCENE. — Parlor in Squatters' Gidch Hotel. {For descrip- 
tion see sce?ie plot.) Enter Tatters, r. 2 e., looking cau- 
tiously around. 

Tatters. The coast is clear. {Calls in an undertone) 
Mose ! Mose ! {Enter Mose, r. u. e., stealthily) 

MosE. Hush, missy, not so loud. Sometimes eben dese 
yar walls have ears. 

Tatters. Is Mr. Ferris still safe ? 

Mose. Trust Mose for dat. Mr. Ferris is up dar in de 
loft ober my room feeding on de dinner I just gone and 
stole out of de kitchen. I tell you, though, I was nearly 
kotched. Dat ole woman got two eyes in dat head of 
hern. 

Tatters. Do you think she suspects, Mose ? 

Mose. Golly, miss, I'se afraid she does. She misses de 
victuals. Can't shut her eye up 'bout de victuals no how. I 
abstracted a meat pie and a plate of fish, and de ole gal's 
been making some very pressing inquiries. I just tell you 
what it is, miss, Mr. Ferris can't stay here hiding anoder 
day longer. 

Tatters. Why not, Mose ? 

Mose. Bekase de Vigilanters 'spects he is here, and so 
does de sheriff, and unless dis chile's greatly 'staken dey be 
down yar to search before de night's over. 

Tatters. Then we must warn Robert of his danger ! 
He must fly. 

Mose. Dat's just my 'pinion, Miss Tatters ! No time like 
de present if you want a little confab. I'll call him and den 
he better cut and run {goes to door, r. u. e., gives low whistle.) 
Mr. Ferris ! Mr. Ferris ! you can come out now, Mr. 
Ferris. {Enter Robert Ferris /rt'm r. u. e. Exit Mose, 
R. 2 e.) 

Tatters, (l.) Robert — Mr. Ferris — you are in great 
danger here and you must fly. We can no longer make 
them believe that you have left the house and Mose heard 
that they intend to come here before night and make a 
search. 

Ferris, (r.) Then nothing remains for me but capture 
and death, for escape is impossible, beset as I am by 
enemies on all sides. 

22, 



24 TATTERS 

Tatters. Impossible ! I reckon nothing is impossible 
when a fellow brings himself down to hard-pan and goes to 
work in earnest. You can depend on one thing, Mr. Ferris, 
and that is, if one little girl can help you any it's going to 
be done, even if it takes the last drop of blood in her body. 
I suppose you know who that girl is, Mr. P'erris ? If you 
don't I'll tell you, she's me ! 

Ferris. Tatters, I always felt assured of your love and 
devotion, and I shall try to prove myself worthy of them. 
(MosE opens window in flat and looks cautiously in.) 

Tatters. O Mr. Ferris ! you're so good. (Mose drops 
his hat into room, makes an effort to recover it.) When I hear 
you talk that way, Mr. Ferris, I feel that I could go through 
fire and water for you, and so I would if it could do you any 
good. (Mose, in his effort to get his hat, tumbles headfore- 
most through the window) Holy Moses ! 

Mose. (r.) Dat's me ! Miss Tatters, it's Moses. 

Tatters. Why, Mose, how dare you ? 

Mose. Dat was only a pleasant way of introducing 
myself ; sorry to disturb de little confab, but Phil Dolan am 
coming. 

Ferris. Phil Dolan ! 

Mose. Yes, and de sheriff and de posse not far behind. 
Dey's going to search de house. Your goose am cooked, 
Mr. Ferris ; you am lost. 

Tatters. He is not lost until they find him, and they'll 
not find him if I can help it. {K?tock at door, r. 2 e.) 

Mose. Dat's Dolan. Dar's not a minute to lose. 

Tatters. Mose, take Mr. Ferris into your room and 
conceal him. Leave me to put the bloodhounds on the 
wrong scent. {Exit Ferris a?id Mose i?ito roo?7i r. u. e.) 
Now come, Phil Dolan, when you will ! I'm ready for you. 
{She unbolts and throws open door, r. 2 E. E?iter Philip 
Dolan.) 

Phil, (l.) So, Tatters, I find you alone. Locked in by 
yourself, eh ? What are you doing ? You look sort of dis- 
tressed. Worrying about Ferris, I suppose. 

Tatters, (r.) I am sure I am not worrying about you. 

Phil. I didn't ask for any tart answer, and I don't want 
'em. Look here. Tatters, I want you to sit right down yar 
and listen. I've got something to say to you. 

Tatters. I guess I can listen to you standing up. 

Phil. Very well, have your own way about it. Tatters, 
for the last two years I've had my eye on you. I've watched 
you budding up into a right smart, handsome woman, 
and though I never took much stock in the female sex, 



TATTERS 25 

I've took a liking for you and I've come to make you an 
offer. 

Tatters. Indeed I feel obliged to you, Mr. Dolan. 

Phil. That shows your good sense, Tatters. I've a 
farm down there in the Gulch which I shall sell to-day, and 
it will bring me money enough to go off to 'Frisco or some 
other place and live like a gentleman. You've only to say 
the word, Tatters, and I'll make you my wife and every 
cent I'm worth shall be your'n. 

Tatters. That's very kind in you, Mr. Dolan — it's too 
kind ! Indeed I couldn't accept such a sacrifice ; you'd 
better keep your money. You'll need it to bury you. 

Phil, (threateniiigly) You're laughing at me. You're 
not yet got that renegade Robert Ferris out of your mind. 
But I'll teach you to sing another song, my beauty. The 
boys are after Ferris and will soon hang him, and as for 
you — I'll make you my wife in spite of yourself. Oh ! you 
needn't turn up those pretty lips at me. If you do I'll kiss 
'em. Ha ! ha ! That is what you want, I guess. {He ap- 
proaches her) 

Tatters. Stand back, Phil Dolan ! 

Phil. Nonsense, Tatters ; I must have a kiss ! 

Tatters, {takes gun ; /eve/s i/ at Dolan) Come on, then, 
and take it. {Enter Major, r. 2 e.) 

Major. Good for Tatters — bully for my Titinia, I say ! 
Ha ! ha ! Dolan ! She got the drop on you that time, eh, 
old boy ? (Tatters goes tip, r.) 

Phil. Your gal's got grit, and I like her'all the better for it. 
Major, listen to me. I hope to find you've more sense in that 
rum-soaked old noddle of yours than Tatters has shown. 

Major. Goahead, Philip. Whip^^ourhorses! State thecase. 

Phil. I've just been making Tatters an offer that any 
gal in the settlement ought to be glad of. I've asked her 
to be my*wife, and what do you think ? Would you be- 
lieve it, Major? She has refused me ! 

Major. Bully for Tatters ! Shows her good sense. 

Phil. I'll be durned if you aint as big a fool as the gal. 

Major. Maybe I am, but when my Titinia marries it 
will be to a man of property. 

Phil. And what do you call me ? Don't I own a hun- 
dred acres down in the Gulch which I shall sell before the 
day is over for hard cash to Kent the speculator ? 

Major. No, sir ; I don't think you'll sell any land to Kent 
the speculator. I've seen Kent and he says he won't buy a 
foot of your land unless you can prove a clear title, which 
you'll find it difficult to do since Marston has turned up. 



26 TATTERS 

Phil. But Marston is dead — murdered ! 

Major. But that won't help your case any. I guess 
Marston has heirs who will soon turn up, and they'll set 
their lawyers to work to make you either prove your claims 
or get up and git. 

Tatters, {comes down, r.) And from present indications, 
Dolan, you'll get up and git. 

Phil. Bah ! When I do you'll go with me, and as for 
your pumpkin-head of a father — 

Tatters. Pumpkin-head ! You call my dad a pumpkin- 
head? 

Phil. I do. 

Tatters. Well, Pd rather be a live vegetable any time 
than a dead beat. 

Major. Ha! ha! Philip, she had you there! Sold 
again. Got the tin. Good for Tatters ! {Enter Sheriff, 
Abe, a7id several men, R. 2 e.) 

Sheriff. Good-day, Major. Pm sorry to say Pve an 
unpleasant duty to perform, but Pve a warrant to search all 
the houses in the settlement for Ferris, and so Pve done 
you the honor to begin with yourn. 

Major. Thank you, Sheriff, but I assure you you'll have 
all your trouble for nothing. Ferris is not here. 

Tatters. That PU swear to. Robert Ferris is not here ! 

Sheriff. I believe you both and I only wish I could 
take your word for it. But you see my duty's got to be 
done. I must search the house. 

Major. Then go ahead, Sheriff. Pll not hinder you. 
I can't forget my hospitality, though, and before the search 
begins I insist that we have a " nip " all around. 

Sheriff. All right. Major, Pm agreeable to that. 

Men. So are we all. Hurrah for the Major ! 

Major. Pve no liquor here, but I'll send the nigge;- around 
to the bar for some. {Goes to Mose's roo7n r. u. e., and 
speaks) Mose, take the demijohn, go over to the bar, fill it 
full of old Monongahela and bring it here. 

Mose. {outside, r. u. e.) All right, boss, Pll be dar in a 
minute. 

Phil, {aside) There is some trickery here. Pll keep my 
eyes open. {E?iter Ferris disguised as Mose. He holds 
demijohn before his face as he crosses from r. u. e. to r. 2 E.) 

Major. Hurry, Mose, the gentlemen are waiting. 

Ferris, {negro dialect) You bet your boots, boss ! Pse 
gwine, Pse gwine ! {Exit Ferris, r. 2 e. Phil, watches 
him off suspiciously, and then listens at door of room.) 

Phil. Who is in that room ? 



TATTERS 27 

Major. That is Mose's room, but there is nobody there 
now. 

Phil, (l.) You lie. I heard a footfall. Boys, there is a. 
mystery here. There is somebody hidden in that room, 
and he must come out. 

Sheriff, (c.) Major, I must do my duty. If Ferris is 
concealed in your house he must be found. 

Major, (r.) Sheriff, I repeat on my word of honor as a 
gendeman and a soldier, that Robert Ferris is not hidden 
under this roof. 

Tatters. And I swear to all he says. 

Major. I've not seen Ferris since last night, and I sup- 
pose he escaped by that door while we were defendmg him 
on the porch. {Enter Mrs. Tim. l. i e.) 

Mrs. Tim. (l. i e.) Now what is the matter ? 

Phil. Matter enough. Robert Ferris, the murderer, is 
concealed in your house, and your husband won't give him 
up. 

Mrs. Tim. Mercy on us ! A murderer in the same house 
with me ? 

Tatters. Oh ! shut up and don't be an idiot ! If 
Robert Ferris is the sensible man I take him to be he is far 
enough away by this time. 

Phil. Stop your chaff! We've had enough of this. I 
insist that the house be searched at once. 

Major. Can't you take my word when I assure you on 
my honor that the man is not here ? 

Sheriff. I don't wish to be rude, Major, and if you say 
on your honor — 

Phil. I'll not be made a fool of. {Rushes to door, r. u. e.) 
Ferris is here, and — 

Tatters, {who has seized powder-horn from wall and 
holds it over fire) Stop, I say ! Phil Dolan, advance another 
step toward that door and I'll blow you all into eternity. 
(Abe steals behind Tatters, seizes her arm, and the rest 
rush to room, r. u. e.) 

Men. {within room, r. u. e.) He is here ! Out with him ! 
{Re-enter, men dragging Mose. Mose laughs boisterously, 
men discover their mistake and rush out door, r. 2 E. 
Tatters has raised window in flat and looks exultingly out.) 

Tatters. Baffled again, you fools ! The cage is open. 
The bird has flown. {Laughs wildly) Ha ! ha ! ha ! Robert 
Ferris has escaped. {Music. Tatters, Mose, and Major 
clasp hands and dance around Mrs. Tim., who is horrified. 
Lively miisic.) 

QUICK curtain. 



Act III 

SCENE I. —Same as in Act I. Enter Tatters from house, 
L. 2 E., folloived by Mose. 

MosE. Wat de matter, Miss Tatters ? Wat you looking 
so down in de mouf about ? (Tatters cries) Don't go on 
dat way, Miss Tatters. Don't da it, I say. {Bursts out cry- 
ing.) Dar, what did I tell you. Now you got me off. {Sobs 
violently) 

Tatters, (l.) Mose, was you ever in love ? 

Mose. (r.) Yes, Miss Tatters, I'se felt de tender passion. 
I knows what that is. It's wuss dan de measles. 

Tatters. Why, Mose, I never knew you were in love. 

Mose. Oh ! yes, Miss Tatters, I'se in love now. 

Tatters. Who with? O Mose ! tell me all about it. 

Mose. Well — well — well. Miss Tatters, it are kind of a 
tickelish subject. 

Tatters. Do, Mose, tell me, I won't breathe it to a soul. 
'Deed I won't. 

Mose. Honor bright? 

Tatters. Yes, indeed, honor bright. 

Mose. Cross your bref. 

Tatters. There {crosses herself) what more do you 
want? 

Mose. Well, Miss Tatters, I loves de young lady. 

Tatters. What, me? Why you impudent — 

Mose. No, no, not you. Miss Tatters. De young lady 
from Bosting. 

Tatters. What, Miss Clementina, ha ! ha ! ha ! the idea. 
Does she know it, Mose ? 

Mose. Know it ? Oh ! no, I guess not. I kept it very 
confidential to myself 

Tatters. Moses, I've got something to tell you. You're 
a happy man? 

Mose. What dat you say ? 

Tatters. Miss Clementina loves you, Mose ; she told me 
so to-day. She is only waiting for you to speak to flop right 
into your arms. 

Mose. What ! you don't mean it! She loves this nigger. 
{dances) Oh ! yum ! yum ! yum ! Dat pretty white gal ! so 
much style ! I can't keep in my skin. 

Tatters. Here she comes. Lose no time, Mose. Pop 
the question. She'll be sure to have you. 
28 _ 



TATTERS 29 

MosE. Darn my buttons if I aint a good notion to do it. 
{E?iter Clementina /r6>;;/ house, l. 2 e.) 

Clementina. Why, Tatters, you running around at this 
hour of the day, and your hair not combed. Why don't 
you fix up Hke me ? 

Tatters, (c.) {slyly molio?iing to Mose to make love) 
Excuse me, Miss Clementina, won't you tell me why city 
girls fix up so ? 

Clem, (r.) To look neat, of course. 

Tatters. Oh ! that's it. 1 thought you wanted to catch 
a beau. 

Clem. The idea ! 

Tatters. I don't care. You've caught one, anyhow, 
aint she, Mose ? There is a feller in these diggings dead in 
love with you, ha ! ha ! ha ! {Exit Tatters, l. 2 e., laugh- 
ing and motioning to Mose to make love) 

Clem. What can the rude creature mean ? I declare I 
don't know what to make of that girl. The horrid little 
fright, I don't see why they don't send her away. 

Mose. {throwing himself suddenly on his knees behind 
Clem. She tutns in indigriant astonishment) Object of my 
ad — o — ration ! 

Clem. What? 

Mose. Caterpillar of my 'fections. 

Clem. Why you nasty, impudent, dirty — 

Mose. Here upon my bended knees, Miss Clementina, 
I swear I love you. Turn not away in dat beautiful scorn, 
but reciprocate my 'fections. You is white and I is black, 
but that makes no difference, for I am not proud ! O Miss 
Clementina ! 

Clem, {boxes his ears) How dare you address me in that 
manner. Say ! how dare you ? 

Mose. Don't you love me ? Miss Tatters said you did. 

Clem. Tatters ! Then this is one of her tricks. Oh ! I 
could tear myself with rage. {Enter Major a7id Mrs. Tim- 

BERLAKE, L. 2 E.) 

Mrs. Tim. Why, Clementina, my child, what is the matter ? 

Clem. It is that horrid negro man. 

Major. Mose ? What has be been doing ? 

Clem. He has been insulting me. Actually dropped on 
his knees and wanted me to be his wife. 

Mrs. Tim. Why the wretch ! 

Clem, {sobs) But it was all Tatters fault ; she told him to 
do it. 

Mrs. Tim. Tatters ? I knew it. That child is in all 
sorts of mischief. 



30 TATTERS 

MosE. No 'deed, ma'am, wasn't Tatters — 

Mrs. Tim. Don't you contradict me. Major, you must 
reprove Tatters, and as for this nigger — discharge him. 

Major. That I certainly shall. Mose, I've done with 
your services. Get out ! You're discharged. 

Mose. Discharged? I guess not. You couldn't get 
along without Moses. Discharged ? Not if I know myself. 
You can send de old woman away, but I stays here. ( To 
Clem.) Tink over what I said, missy. Don't frow a chance 
like dat over your shoulder. {Exit Mose, l. 2 e.) 

Mrs. Tim. Did I ever ? Well that is a little too much. 
I have been educated in Boston, and I respect the negro, 
but that fellow is a little in advance of even my ideas. 
There, my dear, that will do. You may retire, for I wish to 
speak privately to the Major. {Exit Clem., l. 2 e. Mrs. 
Tim. looks at the Major in mute admiration for a mifiute.) 

Mrs. Tim. Oh ! you loUypop. 

Major. Eh ? 

Mrs. Tim. Oh ! you daisy ! Oh ! you essence of sugar and 
molasses ! 

Major. What is the meaning of these remarks, Mrs. 
Timberlake ? 

Mrs. Tim. They mean that I am learning to love you. 
They mean I have discovered your good qualities. They 
mean for the last two days you have abjured the use of bad 
whiskey and drank nothing but soda water. They mean 
that our honeymoon shall be a bright, a blessed reality and 
not a false delusion. Major! Joy of my heart, angel of my 
existence, come to my arms ! 

Major. But consider, Mrs. Timberlake, somebody might 
see us. (Tatters appears on porch) 

Mrs. Tim. What? You won't come? Then I'll come to 
thee. Thus do I clasp thee ! 

Tatters, {throwing shoe) Come off. Break away ! 

Mrs. Tim. Oh ! my conscience ! {Rubbing her shoulder) 
What did you do that for ? 

Tatters. You leave my dad alone. 

Mrs. Tim. Why you ungrateful girl ! You are always 
in the road. You shall be sent away. Just as I think I am 
happy that trollop interferes. 

Major. Tatters, you ought to be ashamed of yourself. 

Tatters. Well, you send that old Hessian about her 
business and I will behave. I — 

Mrs. Tim. Old Hessian! Ah! Let me at her! I'll 
scratch — {The Mx]OK gets behind her and drags her off, 
L. I E., she screaming and trying to get at Tatters.) 



TATTERS 31 

Tatters, {in a pugnacious attitude) Oh ! you come on ! I 
dare you ! I dare you ! I wish I had an infernal machine. 
I'd blow that old woman to the kingdom come. I don't see 
what step-mothers were made for anyhow. {E?iter Ferris 
R. u. E. atid through gate c, disguised as a Jew peddler ; a 
pack 071 his back.) 

Ferris. Is dis ze Squatters' Gulch, my child ? 

Tatters. Yes, this is the Squatters' Gulch. But we 
don't want to buy anything. The last peddler cheated us. 
He sold dad a pair of pants for seventy-five cents and they 
busted the first time he sneezed, 

Ferris. Vary good, ha! ha! ha! Vary good. But I 
sells you scheap. 

Tatters. We don't want to buy any sheep. We run a 
hotel, not a drove yard. 

Ferris. You run a hotel ! I see ! I see ! You den de 
pretty bar-maid. What a nice face you got. Shust like a 
dumpling ! So fat ! Come here and kiss me ! 

Tatters. Kiss you ! You mutton-headed, long-nosed 
sheeny. {Seizes broom, about to beat him) Get out of here, 
you coward, you diabolical villain ! You — 

Ferris. {Throws off disguise) Don't, Tatters, don't! 
Mercy ! mercy ! My dear girl, don't you know me ? 

Tatters, {confused) Robert! Mr. Ferris, where have 
you been ? 

Ferris. I have not a moment to lose, so my explana- 
tion must be brief. In my flight I reached the first mining 
town in safety. A few days more would have landed me 
in 'Frisco. But I couldn't go, Tatters. There was some- 
thing wanting. I couldn't go alone, so I have returned, 
braving the dangers of arrest, to beg you to go with me to 
be the companion of my flight. 

Tatters. I can't do it, Mr. Ferris. I'd Hke to, but I 
can't leave my dad nohow. {Enter MosE, l. i e., suddenly) 

MosE. O Miss Tatters! {Sees Ferris.) Hello, you 
here ? Dar, go ahead. Don't mind me. Kiss and buss 
and be done wid it. You aint got a minute to stay. 

Ferris. What do you mean ? 

MosE. I mean Phil Dolan dropped to dat disguise of 
yours, and he's rousin' the boys. 

Ferris. Phil Dolan ? I passed him on the road. 

MosE. And he recognized you. Sharp as a fox, dat 
fellow. Better leave yar — better get out quick. De boys 
will be yar in a minute. 

Tatters, {anxiously) Oh ! fly, Robert, fly ! 

Ferris. Not without you, Tatters. Without you life is 



S2 TATTERS 

worthless and death is welcome. You are my all in all, ancj 
if you refuse I shall remain and let these demons wreak 
their vengeance. 

Tatters. But my dad, Robert, what would he say ? 
Eccentric as he is, he has been a good, kind dad to me, 
and I can't leave him without one fond look or a word of 
farewell ! 

Ferris. We will get his consent. Tatters? But not 
now, there is not time. {Noise outside, r. u. e.) 

MosE. Golly, dar dey are. Hurry ! Quick, or you is 
lost. 

Ferris. Tatters, what do you say? Will you go or 
shall I stay here and perish ? I will not leave without you. 
{Noise again, r. u. e.) 

Tatters. Then I'll go. I can't see you torn down like 
a wild beast. Mose, say to my dad — {Noise nearer, r. 
u. e.) 

Ferris. Quick, we have not a moment! {Exit Ferris 
a?id Tatters, l. i e.) 

Mose. Dey are off. Bully for de gals, I say. Dey neber 
desert a fellow when he is hard pushed. {Enter Phil, Abe, 
and the 7ne?i, R. U. e., and through gate, c.) 

Phil. He is gone ! But here is the nigger. {Seizes 
Mose by throat) Where \i Ferris, you rascal ? 

Mose. Who ! Who's dat you say ? 

Phil. Speak, you black skin, or I'll strangle you. Where 
is Robert Ferris ? 

Abe. Where is Tatters ? The girl surely knows some- 
thing about him. 

Mose. Don't know, 'deed and double, I don't. Aint 
seen Mr. Ferris — aint seen Tatters. 

Phil. You lie. Boys, this fellow is deceiving us. He 
is a pal of the Injin's. What shall we do with him ? 

Men. Duck him in the horse trough. {They seize MosE 
and proceed to put him under the pump as scene closes) 

close in to 

SCENE 2. — A mountainous pass. ist. Grove. Enter Tat- 
ters and Ferris, l. i e. 

Tatters. Well, I like traveling, but I don't like it in this 
style. Have we to walk all the way to 'Frisco ? 

Ferris. Of course not. Everything is provided. A little 
further on, at the edge of the woods, I have left my horses. 
We'll ride to the next ranch and there the coach will take 
us safely to San Francisco. 



TATTERS 33 

Tatters. Was you ever there ? 

Ferris. In San Francisco? Never! But I've heard 
of it. 

Tatters. Nice place, aint it ? 

Ferris. Very nice. 

Tatters. Streets paved with gold ? 

Ferris. No, Nicholson pavement. 

Tatters. Oh ! pshaw. Dad told me the streets were 
paved with gold, and when a body wanted money all you 
had to do was to go and scoop it up out of the gutters. Any 
fashion in 'Frisco ? 

Ferris. It is a very fashionable place. 

Tatters. I'm glad of that. I've brought my best dry- 
goods along, and when it comes to dressing I guess I'll 
rather make them 'Frisco ladies stare. Look at that. {Shows 
dress) Won't that make 'em shiver ? 

Ferris. It will pulverize them. {Noise outside) Listen ! 

Tatters. It's Phil and the boys. They're after you. 
We've not a minute to lose. 

Ferris. Come then ! The horses are just beyond. Once 
mounted we'll give them a chase ! 

Tatters. Oh ! If I was only a regiment of soldiers. 

Ferris. Quick, we've no time to lose. (7}?/^^j- Tatters' 
hand and runs off, r. i e. Pause. E?iter Phil, Abe, a7td the 
men, l. i e.) 

Phil. The Injin can't be far beyond. Look, here are the 
footprints of some one in the sand. 

Abe. Won't do. These are the marks of a gal's shoe. 

Phil. Then it's Tatters. I'm certain the gal's with him. 
Tatters and that conniving nigger have stood by him all 
along. 

Abe. Here we are. This is a man's foot. 

Phil. And alongside it that of the gal's. They've gone 
together and in this direction. Come, boys, we'll soon have 
him. {Exit?uii.,ABK,andme7i,K.iY.. Pause. Enter Major, 
Mrs. Timberlake, and Clementina, l. i e.) 

Mrs. Tim. I always knew that girl would come to no 
good. The idea ! Running away with a wild Injin. 

Clem. She was Injin enough herself 

Major. Dry up. You two were always picking and 
harping at the gal, and that's what made her run away. 

Mrs. Tim. Why, Major ! 

Major. It's the truth, and I won't take back a word. 
Since you've been here, you've done nothing but sow dis- 
cord and circulate tracts. I want you to understand I run 
a hotel and I aint going to let you or anybody else turn it 
3 



34 



TATTERS 



into a missionary shop. {Etiter Sheriff and posse of three 
men l. i e.) 

Sheriff. I met the nigger at the Gulch, and he told me 
that Ferris had turned up and the boys were after him. 

Major. Yes, the red Injun has run away and took my 
daughter with him. 

Sheriff. If I can strike his trail before the boys do, I'll 
prevent his getting lynched. 

Major. I don't care what in thunder they do with him, 
so I get my darter. The gal is wild and kicks up capers, 
but there is a warm spot here in my heart for her for all 
that. 

Mrs. Tim. Mark my words. % 

Major. Your words are of no account, madam. Here- 
after I am the boss of the family, and when Tatters comes 
home, as I am determined she shall, you'll let the girl alone, 
or I'll mount you on our old mare and send you adrift in 
the howling wilderness. Come on, Sheriff, my blood is 
bilin'. I must find that gal or something will bust, sartain. 
{Exit Major, Sheriff, and tnen, r. i e.) 

Mrs. Tim. {weepi?ig) Oh ! why did I come here ? Is this 
the man I married ? Clementina, what did he say ? 

Clem. He said, ma — the horrid brute — that he'd mount 
you on the old mare and send you adrift in the wilderness. 

Mrs. Tim. Boo-hoo-hoo. Send me adrift. Boo-hoo-hoo! 
On an old mare. O the wretch ! O the heathen ! What 
can I do ? Clementina, where are those tracts ? ( Takes 
tracts) Thank goodness, I've got plenty of tracts with me 
and the Major hates 'em like poison. I'll give him tracts. 
{Exit Mrs. Timberlake and Clem. Pause. Enter Mose, 
L. I e., with gun) 

Mose. Dar goes the old gal. I see her skirts. The Major 
and the Sheriff can't be far away. I will hurry after them. 
I've brought my gun along. Tse a member of de peace 
society, but when it comes to fightin' for Tatters I'se dar ! 
March along boom-a-laddy-boom ! {Exit Mose, r. i e.) 

flats are drawn off disclosing 

SCENE 3. — A deserted huftte^s lodge. {For description see 
scene plot) Ferris enters, d. f. / looks about caiitiously. 
Goes back to door ; beckons ; enter Tatters, D. f. 

Ferris. We'll be safe here. It is a lodge used by the 
hunters in winter, but deserted now. For one night at 
least it will afford us shelter and comfort. 

Tatters. I'll go to work and get supper. 



TATTERS 35 

Ferris, (u. l.) Good ! Here is the fireplace with some 
wood yet left on the hearth. Here is a match {lights fire in 
chim7iey -place) and there you are. 

Tatters, (l.) Oh ! thank you, Mr, Ferris, 

Ferris, (r.) Tatters! 

Tatters, Eh ? 

Ferris. You forget. Don't call me Mr. Ferris, ^^ 

Tatters. Oh ! yes, to be sure— Robert But you're s6 
big and know so much, and I'm so little and don't know 
anything. It— it don't seem as if I ought to be so familiar. 

Ferris, (sits oji stool, draws Tatters to him) Familiar, 
ha ! ha ! ha ! Why, my darling, how you talk. Aren't you 
going to be my little wife 1 

Tatters, {disengaging herself) Yes, when you reach 
'Frisco. Not before, I think we had better go on getting 
supper, I'm hungry, {Looks about, laughs.) It is all very 
well to talk about getting supper, aint it, Robert, but we've 
nothing to eat. 

Ferris. You forget the game, ( Takes gu7i, looks outwin- 
dow) There goes an elk. I'll have a shot at him, {Runs 

out, D. F.) 

Tatters, (d. f., calling after him) Bring back something 
if it is only a raccoon. ( Goes to chimney) The fire looks 
comfortable. What would dad say if he knew where I am. 
Have I done right or wrong ,? Sometimes I begin to feel 
I've done wrong, 

Marston. {outside) Help! Help! 

Tatters, {startled) What was that? (M^^rsto^ appears 
in D. F. He is in a horrid plight, his clothes torn and bloody, 
his leg broke7i, and his forehead bandaged with a bloody hand- 
kerchief, hair dishevelled, etc. He is very weak ajid speaks 
in a thin, husky voice) 

Marston. Help, girl. Help! Help! {Falls in do o} way 
exhausted) 

Tatters. My goodness! Where did he come from? 
(Marston tries to rise) He is weaker than a baby. (Tat- 
ters />r^<:?/r^^/^^/^.) Here, take a whack at this {puts flask 
to Marston's lips ; he drinks). That will tune you up. I 
stole it from daddy's bar and I know it's good. 

Marston. Thanks ! thanks ! Who are you, my good 
girl ? 

Tatters. My name? I'm Titinia Timberlake. They 
all call me Tatters. My dad keeps the hotel down in the 
Gulch here. 

Marston. {hand to head) Tatters? Oh! yes. I recollect. 
And the Gulch— Squatters' Gulch— that's where it happened. 



36 TATTERS 

Tatters. I've seen this man before. Say, mister. 
{Looks attentively at him) Yes, it is. {Starts back i?i 
horror) It is the man who fell from the cliff. Ha ! ha ! 
he is alive ! he is alive ! And Robert Ferris can prove his 
innocence. 

Marston. Robert Ferris? Prove his innocence? 
{Enter Phil and Abe, d. f., they keep back in hiding, listeri- 
ing attentively) 

Tatters. Yes, you are John Marston, the speculator 
from the East, who fell from the cliff near my father's house. 
Robert Ferris stands accused of your murder, and now is a 
fugitive from the lynchers, who would rob the law of its 
work. But you can save him — your presence alone will 
throw the base accusations of his slanderers back in their 
teeth. 

Marston. Willingly! Robert Ferris is innocent. 
Frightened by his words, appalled by his manner, I stepped 
back, retreating from him, forgetting the precipice behind 
me, one step and it was too late. I was plunged headlong 
into the dark abyss, falling and falling until I struck the 
river beneath, breaking my leg on the rocks at the shore, 
I rolled out into the stream, a log was passing, stemmed by 
the current, I seized it, and was borne swiftly on until an 
eddy threw me on the shore near this place. Lamed, 
bruised, far from any habitation, I was helpless. A stranger 
in the wilderness, I knew not where to go, and foi- two 
weeks have made my home in a cave, where I crept, sub- 
sisting on the wild berries that grew within my reach until 
heaven brought me here. You'll save me ? 

Tatters, (r.) Save you ? You just bet I will. We'll go 
right back to the Gulch and take Robert Ferris with us. 
Everything will be cleared up, and as for that Phil Dolan — 
(Phil arid Abe have softly crept behind Marston ayid 
Tatters. Phil throzvs huge cloth over Tatters' head. 
Abe does the same to Marston.) 

Phil. Phil Dolan will take care of himself You had 
your game arranged, eh ! my beauty. The murdered man 
was to turn up. Robert Ferris escape and marry you and 
the whole Gulch laugh at Phil Dolan. Not yet awhile. ( To 
Abe.) Quick, hide them among the bushes before the boys 
come. If they see the man alive none will take a hand in 
the work. {Exit Phil and Abe di-agging Tatters and 
Marston out d. f. Pause. Enter four ly?iche7's) 

First Lyncher. Where can Phil be ? 

Second Lyncher. Abe and he scouted to the left. 
They can't be far away. {Shouts.) 



TATTERS 37 

First Lyncher, t^sh ! If Ferris heard that we'd 
never find him. {Re-enter Phil and Abe, d. f.) 

Phil. Ah ! boys, there you are. We scoured the woods, 
but not a sign of the man. Hello, what is this ? {Examines 
pack) This is Ferris's hat. I'd know it among a thousand. 
At last we've got the gentleman. 

Abe. Not yet. He is not here. 

Phil. Never fear, he'll come. We'll keep shady and 
the fellow will walk right into our clutches. 

Abe. Where is the girl ? 

Phil. She can't be far away. {At open window) Hist, 
my boys, lay low, here comes our game. Quietly now and 
we'll nab him. {All exit, d. f. Pause— Music. Robert 
Ferris appears at door. He has game on his back) 

Ferris, {calls) Tatters ! Tatters ! {Looks around dis- 
mayed) Where can she have gone .? Can anything have 
happened ? Tatters ! Tatters ! {Men enter, d. f., and rush on 
Ferris from behind. YniL places himself tauntingly in front) 

Phil. Oh ! you can call your Tatters. She won't hear 
you. Better say your prayers, my man, for you've not 
many minutes to live. 

Ferris. You bid me pray ? You acknowledge the ex- 
istence of a God, and yet shrink not from murder? 

Phil. Murder ! It is law we're going to give you. 

Ferris. I do not fear the law when justly administered, 
but you have no rights either as judges or executioners. 
What you are about to do is a cowardly, willful murder, a 
deed of darkness in the name of justice, which too often 
disgraces our Western wilds. The gratification of a craven 
spite which you have not the courage or manhood to exe- 
cute single-handed and in the broad light of open day. 

Phil. We have no time for fine speeches ! Up with 
him ! 

Abe. Here is the rope {throws it over Ferris s neck). 
Now toss it over that rafter and up he'll go to glory ! 

Men. Up with him ! Give him hemp ! ( They are about 
to hang Ferris when enter at d. f. Sheriff and a posse of 
three men, Major, Mrs. Tim., and Clementina.) 

Sheriff. Stay ! In the name of law and order I bid you 
desist in what you are doing. Robert Ferris is a prisoner 
of the law and as such I demand his surrender. 

Phil. Stand by your rights, boys. Don't give him up. 
If you want him come and take him ! That is what you 
once said to us. We have six men in our party, and you've 
five in yours. So if you feel like fighting at that odds we'll 
accommodate you right here on the spot. 



5^ TATTERS 

Major. Before you hang this irmn I have a question to 
ask him. ( To Ferris) What have you done with Tatters ? 

Phil. Killed her, I s'pose. Now he's got his hand in he 
won't stop at one murder. {Enter Tatters, d. f.) 

Tatters. You lie, Phil Dolan ! It was you who gagged 
and dragged me to the underbrush where I'd have died if 
Mose hadn't found me. As for Robert Ferris, he is inno- 
cent, and there is the proof of it. 

Phil. Who ? what ? 

Tatters. His father. {Enter Mose conducting Marston, 
D. F.) The man you said he murdered. {To Ferris) And 
who now comes to beg your pardon and forgiveness. 

Ferris. Which I frankly and freely give. Both in my 
own name and in that of my poor dead mother. 

Phil. All very pretty. Now I've a word to say. Tatters, 
once for all, will you leave that man and come with me ? 

Tatters. Sheriff, there is your prisoner, nab him ! 

Major. Lock him up ! That man kidnapped my 
daughter, and I'll have satisfaction if it costs me five 
dollars ! (Sheriff and men seize Phil and Abe and hustle 
them out.) 

Marston. (r.) What can I do to atone for the injustice 
I have wrought. All I have shall be yours. 

Ferris, (c.) A father's love is all I ask. With Tatters 
as my wife I shall work my way through the world, 
strengthened by her courage and happy in her love. 

Tatters, (l. c, clhiging to hhii) Robert ! 

Ferris, {einbracing her) Tatters ! 

Major, (l.) The Pet of Squatters' Gulch! 

Picture, music. 
Disposition of characters at fall of curtain : 

Sheriff, Clem., Marston, Ferris, Tatters, Major, Mrs. Tim. 
R. R. r. c. c. l. c. l. l. 

slow curtain. ' 



JUST OUT 



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A comedy in three acts, by William Smith Morris, M. D., 
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The third act find.5 everything inextricably tangled 
up. Love is running its proverbially crooked course, 
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The whole play is full of ** go." The characters 
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1020 Arch Street Philadelphia, Pa. 



LIBRARY OF CONGRESS 




J UST OU T 017 401 353 6 # 

BOTANY BAY 

A melodrama in three acts and five strong tableaux, by 
Levin C. Tees, author of '' Tatters," '' Our Candidate," etc. 
For nine males and three females. Time in playing, two and 
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^ The scenes are not difficult to set, the text has been 
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PRIC E. ■ 15 CE NTS 

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